"I'll say, but I'll settle for any sort of an explanation."
"As soon as I can. I promise."
"Honeybun, this is all getting really weird. You get fired, then you hack into Pamela's files. You turn down the invitation to come back to home and hearth with a substantial raise. And now you're going to skulk around the place after closing."
"You know what?" She jingled the keys in her hand. "That's not the really weird part. All I can tell you is I'm doing something important, and with the best intentions. I'm not going to do The Gallery or James, or most especially you, any harm."
"I'd never think you would."
"I'll have these back to you tonight. First thing in the morning at the latest."
Tod glanced out the window to see Flynn loitering on the sidewalk. "This doesn't have anything to do with sexual fetishes or fantasies?"
"No."
"Well, that's a shame. I'm walking away. I'm going to have a lovely martini, maybe two, and put all this completely out of my mind."
"Do just that."
He started out, then stopped and looked back at her. "Whatever you're doing, Mal, be careful."
"I will. Promise."
She waited, watched Tod stop to speak to Flynn before sauntering off. She opened the door, gestured Flynn in, then locked it, set the security code. "What did Tod say to you?"
"That if I got you into any sort of trouble he'd hang me up by my balls and then snip off various other body parts with manicure scissors."
"Ouch. Good one."
"You bet." He peered out the window to make sure Tod was gone. "And let me tell you, if I was thinking about getting you into any sort of trouble, that image would be a very strong deterrent."
"I guess, when it comes down to it, I'm the one who could be getting you in trouble. There's the legal angle, the criminal angle, and your reputation as publisher and editor in chief of the Dispatch on the line here. You don't have to do this."
"I'm in. Manicure scissors are those little pointy ones that curve, right?"
"That's right."
He hissed out a breath. "Yeah, I was afraid of that. Where do we start?"
"Upstairs, I think. We can work our way down. Assuming the keys in the painting are in proportion, it'll be about three inches long."
"Little key."
"Yes, a fairly little key. The business end is a single, simple drop," she continued and handed him a small sketch. "The other end is decorative, this complex pattern. It's a Celtic design, a triple spiral called a triskeles . Zoe found the pattern in one of Dana's books."
"You three make a good team."
"It feels like it. It's gold, probably solid gold. I can't imagine we won't recognize it when we see it."
He glanced toward the main showroom with its vaulted ceilings and generous space. There were the paintings, of course, and the sculpture and other artworks. Display cases and tables. Drawers and chests and counters with infinite cubbyholes.
"A lot of places a key might hide in here."
"Wait until we get into the storage and shipping areas."
They started in the offices. Malory set aside her guilt at going through drawers, riffling through personal items. This wasn't any time for delicacy, she told herself. She crawled around James's desk, searching under it.
"Do you really think people like Rowena and Pitte, or whatever god's in charge of hiding the keys, would tape the secret key to the bottom of a desk drawer?"
She sent him a sulky look as she slid the drawer back in place. "I don't think we can afford to overlook any possibility."
She looked so cute, he thought, sitting on the floor with her hair tied back from her face and her mouth all pouty. He wondered if she'd worn black because she felt it suited the circumstances.
It would be just like her.
"Fair enough, but we'd get through those possibilities faster if we called the whole team in."
"I can't have a pack of people running around here. It's just not right." And the guilt of what she was doing scraped her conscience like ragged fingernails. "It's bad enough you're here. You can't use anything you see here in a story."
He crouched down with her, stared into her face with eyes that had gone winter cool. "Is that what you think?"
"It doesn't seem unreasonable that the thought crossed my mind." She rose to take a painting off the wall. "You're a journalist," she continued as she checked the frame, tested the backing. "I owe something to this place, to James. I'm just saying that I don't Want him involved." She rehung the painting, chose another.
"Maybe you should write up a list of what is and isn't appropriate for me to write about. In your opinion."
“There's no need to get testy."
"Oh, yeah, there is. I've invested a lot of my time and energy in this, and I haven't printed a word. Don't question my ethics, Malory, just because you're questioning your own. And don't ever tell me what I can or can't write."
"It's just a matter of saying this is off the record."
"No, it's not. It's a matter of you trusting and respecting someone you claim to love. I'm going to start in the next room. I think we'll do better separately."
Just how, she wondered, had she managed to screw that one up so completely? She took the last painting off the wall, ordered herself to concentrate.
Obviously Flynn was oversensitive. She'd made a perfectly reasonable request, and if he wanted to get huffy about it, it was his problem.
She spent the next twenty minutes going over every inch of the room, and comforting herself with her conviction that he'd overreacted.
They didn't speak for the next hour, and though they were two people performing the same task in the same space, they managed to avoid contact.
By the time they started on the main level, they'd developed a rhythm, but they still weren't speaking.
It was tedious, frustrating work. Checking every painting, every sculpture, every pedestal and objet d'art. Going over the stairs tread by tread, crawling along the trim.
Malory took herself off to the storeroom. It was both painful and thrilling to come across newly acquired pieces, or to see others that had been sold since she'd left The Gallery and were waiting to be crated and shipped.
Once she'd been privy to every step and stage, and had been granted the right to acquire items and negotiate a price. In her heart The Gallery had been hers. She couldn't count the times she'd been inside it after hours like this. No one would have questioned her presence then. There would have been no need to beg the keys from a friend, or to feel guilt.
To question her ethics, she admitted. She wouldn't have felt this awful grief, she realized. Grief that this part of her life had been taken away from her. Maybe she was crazy for refusing the offer to take it back. Maybe she was making a huge mistake by deviating from the sensible, the tangible . She could go back and speak to James, tell him she'd changed her mind. She could slide back into routine again, have what she'd always had.
And it would never be the same.
That was the grief. Her life was changed, irrevocably. And she hadn't taken the time to mourn the loss. She did so now, with every piece she touched, every minute she spent in the space that had once been the most important part of her life.
She revisited a thousand memories, so many of them part of the day-to-day routine that had meant nothing at the time. And everything once it had been taken away.
Flynn pulled open the door. "Where do you want to—" He broke off when she turned toward him. Her eyes were dry, but devastated. She held a rough stone sculpture in her arms as she might a child.
"What is it?"
"I miss this place so much. It's like something's died." Very gently, she replaced the sculpture on a shelf. "I acquired this piece, about four months ago. It's a new artist. He's young, with all the fire and temperament you'd expect from the feel of his work. He's from a small town in Maryland, and he's had a little local luck, but no major gallery showed any interest. It felt good to give him his first real break, and to think of what he might do, what we might do in the future."